Pascale Peyret-Final work 2013

Pascale Peyret

aug2013 132











Héliophanie II : vegetal relics

I am a photographer as well as a visual artist, I use the « camera obscura » and other ancient techniques for my photographic set-ups. I am moved by memory charged objects as well as actively involved in the process of capturing mother nature through the world of growing plants.

This installation of 50 cyanotypes is inspired by the work of the scientists in Benne Eighe reserve, collecting vegetal species in small enveloppes.

These vegetal relics have been taken from the  oldest graves of Gairloch cemetery. They are a kind of notebook for the souls, an anthropo-flore epitaph, syncretism of human, sun and growing vegetation.




Tatsunori Fujii-Final work 2013

Tatsunori Fujii

I hang 1,600 pieces of small white cloth to wood.

I install them in a crack and the circumference of the stone.

1,600 pieces of cloth is population of Gairloch.

This prays for happiness.

However, they are exposed to an invisible thing to our eyes now.

I stare at things in the background.

Piotr Zamojski- Final work 2013

Piotr Zamojski

aug2013 131


the abandoned house, Taggan

pencil on the wall

typeface: New Caledonia

The starting point of the work was the hand-written sentence found on site on the wall-paper. „I kissed her on the ship and the crew began to roar (…)“ is the slightly changed first line from an old seamen’s song called Baltimore Shanty.

In the work four lines of the refrain are written in New Caledonia typeface on the walls. The idea of repetition can be understood as a reflection upon the cycle of leaving and returning.

Lynn Bennett-Mackenzie- Final work 2013

Lynn Bennett-Mackenzie


Humans by their nature like to accumulate possessions,  own a space, maybe a home, favourite place,  piece of land, and lay claim to that area.  Nature in the end is the ultimate landowner and although we like to think we are separate,  in control of spaces – we are not, we are an integral part of nature, and often forget that fact.  We can protect ourselves with clothing, housing, barriers, vaccinations, dwell in an area, but eventually nature will evolve and reclaim by means of growth, natural disaster, and disease.

We are but a speck in time, here only for a very short spell of time and actually in reality, probably know very little about that that surrounds us.

We preserve, manage, conserve protect but also destroy, leave marks, we like to think that our time here will be remembered.  Do we have the right to claim ownership of anywhere we exist; after all, we are only passing through…shadows in history…

With this work, opening up a human habitation to nature, the process of decomposition had already begun with the caravan being unfit for anyone to live in.  A door without a handle indicates privacy of space, ownership.

An area in the woods has also been “claimed”, cordoned off, a private space, ownership, but this will also eventually disappear, nature will take back what is hers.

Nicola Gear-Final work 2013

Nicola Gear – Scotland

One of the first days at the field station, I went with one of the botanists on a walk up a river to find a liverwort that is only found in 3 places in the world, one of them is Scotland.

The scientist walked slowly, looking at her feet, this was a new way of walking for me and it inspired this floor text about flowers. I have chosen the national flowers of each country represented by the artists on this residency. You will find different kinds of information about these flowers, representing the different ways we think about them and the changes in the history of each country. The individual flowers last a short time, the stories sometimes persist over hundreds of years, the only thing that remains constant in our time is the use of Latin as an international language for naming flowers. The flower stories follow the river courses that flow from Loch Maree.

Alix Marie. Final work 2013

Alix Marie


‘Science and fiction in Wester Ross: The experiment’.

The very nature of being invited as an artist in residence is to work with the surroundings. In this context, I had first Scotland, its eeriness, ghost stories, overwhelming nature and landscapes to work with. On a more specific level, I also had the Anancaun field station where I met scientists studying the area. Photography has often been associated with authenticity, acting out as a ‘proof’ in science, police matters etc. As an artist and photographer I was interested in playing on that notion and thinking of experimentation, which is an important concept both to art and science. I therefore used my ignorance in science as an advantage on having a ‘fresh look’ and looked for mysterious, strange occurrences. The outcome is a series of photographs, which acts out as much as documentation of a place and as a poetic and aesthetic statement. Beginnings of an eerie narrative, which leaves the audience filling in the gaps and using their imagination to make up the whole story.

Loch Maree, a Scottish ghost story is another project I have made during my stay here and that can be encountered in the Taggan farm house.

Margaret Joan MacIsaac. Final work 2013

Margaret Joan MacIsaac
pic M

I come from Paibeil on the west coast of North Uist in the Outer Hebrides.  This is my first Residency; having graduated from Moray School of Art last year and I have enjoyed the experience immensely.

I have brought essences from other parts of my life to this place, learnt and added to them.  Using found and resourced materials, I make work to create a conversation often distilled into the simplest of forms.   Using Film I comment on movement, rhythm and transcendence; that is to be found in the simplest of tasks and moments.  Considering perceptions of what is important, to take a moment to stop and be……